Based on a novel by Roberto
Bolaņo, IL FUTURO - the third feature film of Chilean
director Alicia Scherson - seems hampered by its narration
(which probably reads more dynamically) and its sedate
pacing (presumably emulating the mindframe of the heroine in
mourning). Having lost their parents to a car accident,
nineteen-year old Bianca (Manuela Martelli, B-HAPPY) is left
in charge of her younger brother Tomas (Luigi Ciardo,
MARTINO'S SUMMER). While Bianca leaves school to take a job
as a hairdresser - while waiting for the bureaucratic red
tape to be cleared up and give them access to their father's
pension - Tomas skips school to hang out at a nearby gym in
the company of trainers Libio (Nicolas Vaporidis, IAGO) and
Boloņes (Alessandro Giallocosta) who insinuate their way
into the household (and later into Bianca's bed). While the
titular future for Tomas and his friends represents material
goals (Bianca only muses about opening her own salon even
though she has not yet learned to cut hair), Bianca seems to
be in search of another identity to replace the fractured
one left in the wake of her loss. When Libio and Boloņes hit
upon the idea to use her to seduce and rob peplum actor Mr.
Bruno (Rutger Hauer, BLADE RUNNER) - nicknamed "Maciste"
after the Hercules-like Roman hero (many of the real "Maciste"
films substited Hercules for the character name in the
English-dubbed versions while some renamed him Goliath). A
recluse in a rambling mansion since a road accident blinded
him, "Maciste" requires female companionship, and their
sessions are as fleshly as they are probing of each others
identities (from answers to survey questions to private
confessions and discussions of dreams). When Bianca starts
to fall in love with "Maciste" - possibly just as a means of
psychological escape - she begins to feel guilty about her
scheme even though he seemingly cannot love her in return.

Strand Releasing's
progressive, anamorphic dual-layer disc of this high definition
production is the first of their more recent foreign releases to
feature optional subtitles rather than burnt-in ones. The image
generally looks dull, but this seems to be a stylistic choice
with restrained colors and mostly overcast exteriors. The
surround channels on the 5.1 track are mainly concerned with
atmosphere over directional effects - apart from a couple sudden
appearances by Hauer - but the score has a bassy, vibrant
presence. There are no extras apart from the film's trailer and
trailers for other Strand titles.